#japanese influence
Evening Coat
Liberty & Co.
1925
Orange silk rayon jacquard with yellow chrysanthemum pattern; cuffs, front opening and hem in gold rayon; collar of beaver.
Images and text taken from the book:
Fashion: A History from the 18th to the 20th Century, Kyoto Costume Institute, pgs 446-447.
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Sirene Gown
Haute Couture
Givenchy
Alexander McQueen
1998
“McQueen’s silvery mermaid dress has the kind of glamour appeal a screen goddess lives for. Silver beaded dress on black crepe georgette.”
Bazaar US April 1998, Perchance To Dream
This gown is similar to a 1919 evening dress by Gustave Beer.
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Dinner Dress
House of Worth
Charles Frederick Worth
Jean-Philippe Worth
1890-95
At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth’s creative output maintained its standard and popularity throughout his life. The business continued under the direction of his sons, grandsons and great-grandsons through the first half of the twentieth century.
(Silk Dress with morning glory motif.)
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Velvet Coat
Christian Dior/John Galliano
Haute Couture
1997-1998
“A Luxe fur collar adds an opulent note to a hand-painted hammered-velvet coat.“
Magazine Editorials - US Vogue November 1997
‘Bohemian Rhapsody’
Photographer: Ellen von Unwerth
Fashion editor: Grace Coddington
Model: Karen Elson
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“Le Reve”
Evening Dress
Jeanne Lanvin
1939
(Illustration)
Rendering of “Le Reve,” from around 1939. Narrow bias bands of white organdy are sewn to a black silk tulle foundation. The created effect mimics the horizontal pleats seen on Japanese rice paper lanterns, while actually the weightless bias bands barely touch each other, revealing a slice of the black tulle foundation. Opposing corsages of silk flowers, one on the left shoulder and one on the right hip (which also functions as an evening bag) are tinted in colourful romantic pastel shades. Sash and streamers of Lanvin blue complete the youthful feminine image.
“Le Reve” on a young Lanvin client, Mademoiselle Denay, 1939; visible also is the robe de style “Cyclone” from the same year, worn by her mother, Madame Yvonne Denay.
Images and text taken from: Lanvin - Dean L. Merceron, pg 263.
(I came across these old scans, will re-do when I get hold of the book again.)
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“Marquise”
Robe de Style
Jeanne Lanvin
1925 (Approx)
“Marquise” robe de style of cyclamen coloured silk taffeta with built-in pannier structure.
Medallions-formed by open-worked compositions derived from Japanese mon-encircle the skirt as well as forming a linear border just above the hemline. Because the mon structure is created with voids, the metallic gold lame underdress shows through revealing a hint of glimmer where beading used to be employed for the same effect.
Images and text taken from: Lanvin - Dean L. Merceron, pg 98
(I came across these old scans, will re-do when I get hold of the book again.)
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Dress
1894-1896
The chrysanthemums covering the entire surface of the fabric of this dress make it a fine example of Japonisme, which referred to the influence of Japanese art on Western art and culture and described the craze for things Japanese in the last quarter of the 1800s.
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Evening Dress
Callot Soeurs
1910-14
In the Directoire revival, the waistline was raised in the manner of a century earlier, but with corsetting that had the vestiges of the monobosom. Perhaps even more importantly, the silhouette reflects Europe’s examination of Eastern dress, the softness, raised waist, and lower bust stance suggesting “ukiyo-e” prints and other Japanese style.
Attuned to the Orientalism of the decade, Callot Soeurs reined the silhouette into a cylindrical wrap, effortless in lingerie-weight fabric. Yet, for its innovations, the work of Callot Soeurs does not stint the couture’s roster of technical skills. Here, sequins vary: some are punched into a filigree pinwheel, others are hammered flat; in some instances metal is overlaid onto faceted crystal. But even this ornamentation is not entirely for the pleasure of diversity, but for the calculated and magical effects of such varied surfaces seen in evening and candle lights.
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